Depeche Mode just released their 13th album Delta Machine, their strongest outing of the 21st century. Though they’ve been at it for over three decades, they show few signs of slowing and remain as relevant as ever: They’re constantly being covered (“Just Can’t Get Enough,” the band’s first single, showed up this season on Glee), and as frontman Dave Gahan points out, also regularly providing inspiration for a new generation of boundary-pushing artists.

EW: Your new album Delta Machine was made both in New York, where you live, and in California where Martin Gore has his studio. How does Depeche Mode work being a bi-coastal operation?

Dave Gahan: Depeche Mode is a bit of a revolving door when it comes to other people that work on our record since Alan Wilder left the band 20 years ago. We’ve had to adapt to different ways of working on things. This time we worked with Chris Berg who is a Swedish musician, and he’s worked with bands like Fever Ray and the Knife. He does sort of hardcore electronic stuff. He fit right in, he knew exactly what he was doing, he was very bold, he had great ideas. Martin and I both need a different angle, and that’s what makes it interesting. But to answer your question, yes, Martin’s out there in California, I’m here in New York, so basically we just the recording in half. He has a nice studio in his house, too. This record was really kind of a pleasure to make with Martin. He’s in great shape, he’s writing great songs. He’s as positive as we get as musicians. We’ve come a long way together, we see our strengths and we’ve come to this place where we have a very strong musical bond. I think that just happens with time. Being in a band, you spend the first 10 years chasing something. You spend the next 10 years trying to hold onto it. We’ve spent the last 10 years just kind of doing our own thing. I think there’s a great strength in having the courage and also having the support to do what you want to do when you’re an artist in any way shape or form. And we’ve been lucky to have some great people working with us.

You say you and Martin are positive, but Delta Machine is still pretty dark. Where does that come from?

That’s just in us. We look at he other side of things and I think out of that—it sounds corny, but those spaces that you get yourself into that can be kind of destructive and dark. We say better out than in, and if you can somehow write out of that and then put that into a place that has a feeling of hope about it as well as the despair, I find that that’s the place where it’s really human. A lot of people would say that we don’t make very human-sounding music, but it seems to move a lot of people and a lot of people identify with it on very deep levels. Once a day when I’m walking around New York, somebody will just come up to me and say, “Thank you so much for your music,” or, “Oh you helped me through college,” or “I don’t know what I would have done without that song.” So there’s something about what we do that people respond to, and I think you can look at it in two different ways. Yes, it’s got a feel about it that can be dark at times. The tone in my voice evokes that kind of imagery, and I’ve chosen to embrace that rather than change it. It’s kind of who I am. I understand when people say, “Oh it’s so dark, so heavy.” But I think it has both dark and lightness. I think that’s life.

Why are you so obsessed with sacred imagery—crosses, angels, saviors and the like? Is that part of it?

Martin and I are both interested in that yearning to feel whole with yourself and the world. It’s something that we all want to feel. I have young-ish kids, they’re 25, 20, and 13. They talk to me about that: “I don’t fit in, I don’t this or that.” Music is an art form that actually transcends all that not feeling a part of. It does for me. I don’t know what that is, I don’t claim to have this image of a man in the sky with the big beard, but I do believe the universe has a real power and I think music is definitely a part of that. It brings people together in harmony. I know that Martin yearns for that as well, and I think that both of us have tried different angles with that, and we’ve both had our fair share of drinking, alcohol, and going down those roads of different girls in different places. The bottom line is your kind of left with yourself. You have to choose at some point. It’s like, “I can’t do this anymore.” And in way, it’s a blessing when that happens and if you manage to get to the other side of that and you can put down the booze and different things open up. It doesn’t work for everybody but certainly worked for me.

Your songs are still covered quite often. Is that flattering or frustrating?

I think it has to be flattering. From Johnny Cash to Marilyn Manson, there’s so many different versions of things out there. You can always tell a good song if you hear it in different ways and it still stands up. The Johnny Cash version of “Personal Jesus” is the ultimate version of that song to me. It’s probably even truer than our own in that it stands as a song and the vocal that’s behind it evokes so much feeling within those words and melodies. That’s like Elvis covering one of your songs! It doesn’t get better than that. You know, it’s very flattering and it’s a real testament to our influence on a lot of other musicians, which is for me the highest honor. Someone said to me the other day, “I was watching Glee the other day and they were singing ‘Just Can’t Get Enough.’” And I said, “Yeah, it’s one of the first things we did, really.” And I realized that was recorded in 1980. He said, “Wow, that’s a long time ago.” And it is, isn’t it? It’s more than half my life, and it’s kind of wild that we’re still doing this and there still seems to be a great deal of interest in what we do. I feel very grateful for that.

But that also must be vindicating, considering how many times you’ve been written off, even when you were at your peak.

I read the other day somewhere about all these bands that had never received Grammys. For instance, Led Zeppelin. That surprised me on one level. On another level, it didn’t, because they weren’t that well-received critically. It’s that kind of band. They’re doing their own thing and they were kind of criticized for basically playing the blues and turning it up, so they gave it a different spin. And of course years and years later, you listen to their music and you can just hear how amazing it is. The way the four musicians could get into a room together and make that kind of noise to me is just incredible. But it depends how you judge what is good and what isn’t good. I sat and watched some of the Grammys, and it is what it is. Of course it’s very nice to be given an award for something. We have not had one. You can put us in that category. We’ve never even been given a Brit Award, which is even more insane. Not that we care. It doesn’t make any difference to what we do. For years I wasn’t OK with it. I thought about it too much. We really do get a fair amount of praise.

Have you run into any current musicians who cite Depeche Mode as an influence that surprised you?

We were in the studio in New York filming and recording some live tracks toward the end of the sessions. Suddenly in the doorway, I sense this presence, and there’s this guy standing there and he’s just watching. Who’s that? An assistant said to me, “Do you mind? Frank Ocean is hanging out and he’s in another studio and he really wants to meet you guys.” I wouldn’t have assumed he knew us, but it turned out he was a big fan of the band and he was watching us perform and he was like, “Wow. This is the real deal, this is the real thing.” Martin and Chris actually ended up doing a track with him, which I think is going to be a part of his new record. They’re doing some electronic, modular synthesizer stuff that he really wanted. That’s how diverse it gets for us. I read that Jay-Z has mentioned he’s kind of influenced in some way by Depeche Mode. Now that’s not necessarily the songs or my voice. I think it’s about our approach, the way that we’ve done it out ourselves, that we’ve built something. And I think there’s a lot of different aspects of what is admired about Depeche Mode. Other musicians see it as a sort of template of, “Look, this could be done like this.” And I think it’s important in music that there are the Depeche Modes of the world, because there’s a lot of crap that clogs the radio airwaves. Whether it’s the new boy band or whatever, it’s just kind of become this thing that to me seems to be full of fear, like everybody’s afraid to go out of the norm. Radio-wise, I think it is probably the worst it’s ever been. Especially in America, it seems rock radio is virtually non-existent. It’s all this sort of syndicated, very high-energy pop music and it’s very difficult for new, young bands. It blows me away: there’s so much good music out there. Thank God for the Internet. Clearly, it’s where you find and discover new music.

Joel Edgerton, Isla Fisher, Jason Clarke, Adelaide Clemens and Elizabeth Debicki are among the supporting cast, and Debicki appears in one of the four new 'Moments' posters as Nick's socialite love interest Jordan Baker.

Luhrmann recently discussed the difficulties he and co-writer Craig Pearce had with adapting Fitzgerald's novel, and hinted that the film's script contains one major difference from its source material.

A recent trailer featured clips from the Jay-Z-produced soundtrack, including Beyoncé's cover of Amy Winehouse's 'Back to Black', Florence Welch, Lana Del Rey and Andre 3000.

The Great Gatsby will open this year's Cannes Film Festival, before releasing in the US on May 10 and the UK on May 16.

It's all over: After 40 million votes, 64 bands and 26 days, Ed Sheeran has won MTV's Musical March Madness tournament; and it wasn't even close.

The Sheerios carried their man to a blowout victory over Thirty Seconds To Mars in the 2013 title game, as Sheeran stormed to an early lead, and never relented. In the end, in a battle that saw nearly 90,000 votes cast, Sheeran took more than 63 percent of the tally, and, after a series of close victories — he barely edged out Paramore in the Elite Eight, and snuck by Tokio Hotel in the Final Four — Ed's finally able to exhale ... and can bask in his first MMM title.

Sheeran is the fourth artist to win the tournament in its four year history, following in the footsteps of last year's champs, Tokio Hotel, 2011 title-takers Green Day and Coheed and Cambria, who won the inaugural tourney in 2010.

Congrats to Ed and his entire Sheerio army; when we launched this tournament last month, we didn't know how far his fans would take him, but, with each impressive victory — he truly faced the toughest road to the championship, besting perennial powerhouses like Muse and Evanescence in the early rounds, then running the Paramore/Tokio Hotel gambit just to make it to the title game — it became clear that Sheeran had a legitimate shot at winning it all. He got stronger with each successive round, and now, he's the last man standing. All hail the new champion ... and his fans, who proved that they're the baddest in the land.

And, yes, we're engraving Ed's name on the big gold trophy as you read this.

So, with that, we close the book on the 2013 Musical March Madness tournament. It wasn't always the smoothest ride — just ask the two polling sites we fried — but, despite all that, you all kept voting for your favorite bands, and, in the process, helped us shatter records for total votes again. So thank you for bearing with us, and making MMM 2013 one for the ages. And if your band came up short, well, fear not: the 2014 tournament tips off in just 11 months, so begin plotting your revenge now.

Enjoy your hard-fought victory for a few days, Ed, but remember, heavy is the head that wears the crown. Next year, there will be 63 bands gunning for you ... we suppose it's never too early to begin planning your title defense.

On Sunday’s season premiere of Mad Men, Sandy (Kerris Lilla Dorsey), the Francises’ teenage violinist houseguests sits down with Betty (January Jones) over a midnight snack, telling her what it’s like to live on your own as a young person in New York City. “The kids are just living. It’s beautiful. People are naturally democratic if you give them a chance,” she says, without a trace of irony. “Are you on dope?” Betty asks her, suspicious of anyone who’s that enthusiastic about human nature. It’s a sharp, funny exchange that illustrates Betty’s strange attraction to Sandy and her cynicism.

But it’s also a reminder that there’s another show lurking in Mad Men behind the façade of Don Draper’s suits and scotches. Like almost every major anti-hero drama on television today, Mad Men is also a story about what it’s like to be a young girl discovering the realities of the world she’s living in. The secret of today’s prestige television is that it can all be read as young adult fiction.

Take Game of Thrones, HBO’s sweeping fantasy epic about ice zombies, adorable baby dragons, and the brutality of medieval warfare. It’s also a show that features four major teenage or pre-teenage female characters: sisters Arya (Maisie Williams) and Sansa Stark (Sophie Turner), who have been separated from their parents by the outbreak of war, Daenerys Targaryen (Emilia Clarke), who started out as a teenaged bride to a Mongol-like warlord before rising to power in her own right, and now Margaery Tyrell (Natalie Dormer), who’s already lost one husband—challenger to the throne Renly Baratheon—and is preparing to marry again, this time to Joffrey Baratheon (Jack Gleeson), the brutal boy-king of Westeros.Each girl represents a different kind of fantasy YA archetype. Arya’s always been a tomboy, and at the end of the first season of Game of Thrones, she escaped from the capital city of King’s Landing after her father’s execution, lighting off into the countryside disguised as a boy like a Westerosi Huckleberry Finn. This year, she and the friends she made on the run have hooked up with a group of outlaws called the Brotherhood Without Banners, but not before Arya tried to scare of Thoros (Paul Kaye), one of their leaders. “You’re a dangerous person,” the middle-aged priest beams at her. “I like dangerous people.”

Sansa, her older sister, started the series as a romantic, but has become progressively disillusioned. “The truth is always either terrible or boring,” she tells her maidservant Shae (Sibel Kekilli) earlier this season. But she’s still got some hope, particularly when Littlefinger (Aidan Gillen), the court treasurer, expresses interest in her, and Margaery Tyrell and her grandmother give Sansa her first sense of safety since she saw her father executed before her. Daenerys, by contrast, began as a prototypical abuse victim who was at the mercy of her vicious brother Viserys (Harry Lloyd), who sold her to her husband, Drogo (Jason Momoa), in exchange for an army. But over time, she’s overcome the physical and sexual violence she suffered to become the Mother of Dragons, if not yet the queen of Westeros she dreams of being.

And Margaery is the preternaturally mature operator, a girl who survived the assassination of her first husband, and once she’s betrothed to a second one, smoothly moves into flattering his ego. She gets the truth about Joffrey out of Sansa, whom he ordered beaten and terrorized when the younger girl was engaged to him, and doesn’t let it intimidate her. Margaery may dress like a girly girl and simper like a cheerleader, but she’s a medieval badass, hiding the political equivalents of throwing stars in her cleavage. Taken together, these four girls represent very different teenage experiences, and very different responses to the pressure to grow up into a lady in a time and place where marriage was a form of chattel slavery.

Closer in both time and place, both Showtime’s terrorism drama Homeland and FX’s period spy thriller about Soviet spies in the United States, are deeply tied up in their main characters’ teenaged daughters.

In Homeland, Sgt. Nicholas Brody (Damian Lewis), the prisoner of war who returns home after years of captivity by the terrorist Abu Nazir (Navid Negahban), reconnects most easily with his daughter Dana (Morgan Saylor). She’s pulled into her father’s plan to become a suicide bomber and the CIA efforts to stop him when agent Carrie Mathison (Claire Danes), deep in a bipolar episode, asks Dana, in desperation, to help stop him. Dana insists that she doesn’t believe he could possibly be a terrorist, but calls her father anyway. A year later, when Carrie is interrogating Brody, she tells him, “It was hearing Dana’s voice that changed your mind, wasn’t it?” Dana, whether she intended it or not, has become a full participant in the moral world of grown-ups, due to her father’s plot. And she finally reaches maturity in the second season, when she realizes that Carrie was right, though for the wrong reasons—she’s finally capable of seeing Brody independently, rather than through the haze of daughterly love.

And Brody’s involvement in Washington intrigue also colors Dana’s first romance. She meets Finn Walden (Timothée Chalamet) after her mother is pulled into the vice president’s circle, and artlessly tells him, “I like you,” when he sneaks her into the Washington Monument. But their attempts to outrun his Secret Service detail end in disaster when Finn hits a woman and flees the scene. Dana proves herself different not just from her family but from the Washington consensus, when she insists on finding out what happened to the woman, and then on trying to report her death to the police. For the same reasons Dana ends up able to see her father clearly when so many other people can’t, she refuses to participate in Finn’s evasions.

“Whatever we felt, we broke it,” Dana tells him when he asks her if they could go back to being normal, aided by his family’s money and power. “We killed it, just the same way we killed that woman.”

On The Americans, Paige Jennings (Holly Taylor) is much further away from deducing that her parents, Phillip and Elizabeth, are actually KGB agents rather than the proud proprietors of a suburban travel agency that provides their cover. But the show is deeply concerned with her growing up as a proxy for American capitalism and licentiousness. And her adventures with her brother Henry (Keidrich Sellati) demonstrate how children, before they can be admitted into the realm of their parents’ secrets, learn to keep their own.

In the pilot of The Americans, Phillip (Matthew Rhys) was rattled when, while shopping for shoes at the mall with Paige, an adult man told Paige "Whoa, I like that. You look nice, darling. Want to come with me and Dee to shop after you pay for those?" When Phillip, who’s more attracted to American luxuries than his wife, protests that his daughter is far too young, the man tells him, "Thirteen. I don't know, Daddy. She sure looks ready to me." In the next episode, Elizabeth (Keri Russell)—who sees an affection for consumer goods as a sign of weakness—notices that Paige is sporting an exposed red bra strap. "Where did you get that?" she wants to know. "The mall. It's just a bra. I'm 13,” Paige tells her. “Things are different than when you grew up. People are, like, freer.” In the third episode, over breakfast with Paige, Phillip notices the headline on her Girl’s World Magazine. “Bath to babe in under a minute?” he remarks. “Now I know why your mom hates those magazines.” The message is clear: the road to consumerism leads to the loss of innocence and sexual autonomy.

And it isn’t just the mall that’s a risky place. When Phillip and Elizabeth are detained by their KGB colleagues as part of a loyalty test, and miss picking up Paige and Henry, leaving them stranded far from home, Paige insists that they hitchhike home. In a riff on Joyce Carol Oates’ famous short story “Where Are You Going, Where Have You Been?” the man who picks them up initially seems friendly, but ends up, both intentionally and unintentionally, giving Paige a lesson in the larger world that she’s headed into. "You know, you're definitely going to be a knockout in a couple of years,” he tells her. “I'm not hitting on you or anything, but you're definitely going to break some hearts. You know how dangerous it is to hitchhike? You're lucky you ran into me and not some lunatic." As Paige and Henry feel increasingly threatened, Henry creates a moment for them to escape, hitting the man over the head with a bottle.

"What if he wasn't going to do anything bad to us?" Henry asks her fearfully when they get home. "He was a creep, Henry. What you did today took courage,” Paige tells him. "What happened today has to be our secret, okay?"

Mad Men has always had Sally Draper (Kiernan Shipka), who was a little girl for much of the series, but one with secrets of her own, including her relationship with Glenn Bishop (Marten Holden Weiner). But this year, she is growing into maturity. After Betty’s cited for reckless driving, Sally tests her mother’s limits, announcing to Henry, “Isn’t somebody going to say something? Betty got a ticket.” She may have rushed home after getting her period last season, but now Sally’s shutting the door on Betty’s face to have some privacy on the phone and asking to go to New Year’s Eve parties.

And she’s not the only one who’s growing up. Her friend Sandy is pushing boundaries even further than Sally is. “There are people in the Village. I read about it, and I even visited them,” Sandy tells Betty during their midnight conversation. And after she confesses that she lied about being accepted to Julliard, Sandy disappears, and Betty tries to track her down at an address at St. Mark’s Place that the girl had mentioned. It’s there that she finds herself an interloper in a rather less idealized young adult novel. “I don’t want to have to lay the regular rap on you, but I am exhausted from having to tell people like you that I haven’t seen people like her,” one of the grubby denizens of the squat tells Betty, before finding himself softened by her obvious anguish. “Do you know how to make goulash?” he asks her. “Because I’ve got pork butt, two onions, and lentils, and I’m pretty sure that’s what’s in it... And paprika. I know that’s what’s in it.”

Betty is often criticized as emotionally childish, but in this scenario, she’s more grown-up than anyone else. And Sandy’s disappearance has set her on a heroic adventure of her own. Betty may have rejected the narrative Sandy laid out for women of Betty’s generation—“You go to college. You meet a boy. You drop out. You get married. Struggle for a year in New York while he learns to tie a tie and then move to the country and just start the whole disaster over”—as “an arrogant exaggeration.” But in chasing after Sandy, she’s acknowledging that she wants something more. “I’m came here because I’m looking for somebody that I do want,” Betty tells the young men in the building. “I did not throw her away.”

And Betty’s learning through Sandy’s example the lesson that teenaged girls across television have been quietly absorbing while the grown-ups have been catching terrorists, starting advertising agencies, stealing missile blueprints, and fighting over the Iron Throne. Sometimes you have to strike out on your own to discover who you really are, and what you really want.

Source.There are definitely some interesting points brought up to support the YA fiction argument (and the article is a great read, imo), but I think it's more that teenage daughters aren't just stock fringe characters anymore and are instead being written as full-fledged characters with storylines just as complex and deep as that of their adult counterparts.

TENNAGE pop singer Justin Bieber has sparked controversy after writing a message in the Anne Frank house guestbook saying that he hoped she would have been a fan of his music.The 19-year-old is due to perform tonight in Arnhem, around an hour from Amsterdam, where the Anne Frank House is situated, and visited the museum on Saturday night.Staff from the museum wrote on their Facebook page: “Yesterday night Justin Bieber visited the Anne Frank House, together with his friends and guards.“Fans were waiting outside to see a glimpse of him. He stayed more than an hour in the museum.“In our guestbook he wrote: ‘Truly inspiring to be able to come here. Anne was a great girl. Hopefully she would have been a belieber.’”A ‘Belieber’ is the name given to the singer’s fans.Bieber is no stranger to controversy; on March 5th he issued an apology after keeping fans waiting for nearly two hours at a concert in London, whilst four days later he was involved in a very public spat with a photographer, threatening to ‘f****** beat the f***’ out of him.And on March 30th, Bieber was forced to leave his pet monkey in quarantine at a German airport after the Canadian singer arrived in Munich without the necessary documentation.

Gabrielle Reece created a bit of a stir in her new book when she wrote that “to be truly feminine” meant, in part, being “submissive.”

The volleyball legend and model turned author explained what she meant in “My Foot is Too Big for the Glass Slipper” on the “Today Show” on Friday — and again on Saturday.

Reece, who’s been married to surfer Laird Hamilton for 17 years, clarified her provocative comments by suggesting that being in a relationship means serving the other person.

“I think the idea of living with a partner is ‘How can I make their life better?’’’ Reece told Natalie Morales. “So if I’m the woman and he’s the man, then yes, that’s the dynamic.”

She added, “I’m willing and I choose to serve my family and my husband because it creates a dynamic where he is then in fact acting more like a man and masculine and treating me the way I want to be treated.”

Speaking with Jenna Wolfe in a separate interview on Saturday, Reece said she was “surprised” about how her remarks had been interpreted.

Farrah Abraham is so pissed that James Deen blew the lid off her sex tape scheme, she went straight for the jugular when expressing her feelings about him -- and by jugular, we mean his manhood (and by manhood, we mean penis).

The "Teen Mom" star has been in a war of words with Deen ever since he told us that Farrah's "sex tape" was really just a porn shot at her request.

Farrah took a below-the-belt shot at Deen while talking to our photog yesterday ... which is ridiculous and gross -- ridiculous because he's a male porn star (um, hello!?!?!?) and gross because her mom was standing there the whole time.

SourceThe video won't embed but I highly recommend that you go to the source and watch it. The delusion shared between her and her mother here is so amazing I seriously cannot. Farrah compares her porn to a wedding video. Her mom says Farrah didn't know they were actually making a video. I can't.

Prince, this year’s Billboard Icon, has debuted a song off his new album with proteges 3rd Eye Girl, tentatively titled Plectrum Electrum. “FIXURLIFEUP” is more rock-oriented than, say, “1999,” although Prince’s spoken word may as well be a thesis statement to his entire career. “Don’t worry about what the crowd does, just worry about being what you love,” he says, before he wields a guitar solo to funky bass.

CBC Canada premiered “FIXURLIFEUP” on Friday, in time for tonight’s Live Out Loud tour launch party in Vancouver. According to music news website Dr. Funkenberry, Prince will make a brief appearance so that he and 3rd Eye Girl could perform songs off Plectrum Electrum. Hear “FIXURLIFEUP” at CBC, then check out a brief jam session featuring Prince and 3rd Eye Girl after the jump.

"I remember sitting on the loo on the set with Eminem and Dr. Dre there and thinking: 'How surreal can life get?' she continued. "It's quite hard to sit on the loo without wanting to go to the loo. It wasn't my sexiest moment."

But bathroom scene or no, Dido is still glad she had a hand in "Stan."

"I loved making that video. It was so fun," she said.

And though she's no longer in touch with Eminem, the singer only had kind words for her former duet partner.

"I know a lot people have got a lot of things to say about him, but he was amazing to me. He was so respectful and interesting to be around," the singer said.

"You can't write lyrics like that and not be an exceptional human being. I think he's one of the great modern storytellers."

The songstress has an even more personal connection to the song now. She and husband Rohan Gavinn named their first child Stanley.

'At first I didn't make the connection between the names, but even when I did I wouldn't have changed the name because I had always wanted to name my son that," she said. "It's more of a coincidence that the song 'Stan' was called Stan. I don't see 'Stan' as the same as Stanley."

Sasha Pieterse (Alison) certainly doesn't waste any time. We reported last month the Pretty Little Liars star would be releasing a country single and it is here. “This Country is Bad Ass” was released on iTunes this morning, and it is super catchy.

The upbeat, snarky track is currently available to download on iTunes. The song definitely has a patriotic slant with opening lines: “Good day's work for a good day's pay. I'm proud to be American and that's okay. Free to make my own way in this great nation, but you get a different story on the TV station.” Except for ABC Family, obviously. If you like Sasha's first single, you'll be glad to hear that she will be following it up with two more singles: “RPM” and “I Can't Fix You.”

Sasha is the second PLL star to go country. Lucy Hale (Aria) has been working on her own country album for a while. Luckily, we won't have to wait much longer to hear Luce's tracks. The album is due out in the summer, with a single coming sometime this spring.

These girls certainly do keep busy! Perhaps Sasha has combined her two gigs – is it possible Ali has been off making a country album this whole time? That girl can do anything (including, possibly, piloting a plane), and scheming can't take up all of her time, right?

What do you think of “This Country is Bad Ass”? Do you think Sasha has a future in country music or should she stick to acting? Listen to the track below, and let us know in the comments!

Catch the next episode of Pretty Little Liars on Tuesday, June 11, 2013 at 8 p.m. ET/PT on ABC Family.

Although rumor had it that Phoenix were going to bring out fellow French Touch allies Daft Punk during their headline set at Coachella last night (as if DP weren't already ruling the festival despite not actually being on the bill), the reality was something no-one could have predicted: As the French band started playing Wolfgang Amadeus Phoenix's "1901", R. Kelly came out to sing "Ignition" over the top. It worked pretty well! Phoenix then slipped into "Chloroform" off their forthcoming album, Bankrupt!(due April 23 via Loyaute/Glassnote), which Kelly matched with verses from "I'm a Flirt", the first single from 2007's Double Up, before bouncing back to "Ignition".

Kevin Hart was arrested early this morning on suspicion of DUI after he nearly slammed into a gas tanker while speeding on a freeway ... TMZ has learned.

According to the California Highway Patrol, officers spotted the comedian driving in a black Mercedes on the 101 Freeway at around 4:30 AM PT. The CHP says he was "driving erratic," "going 90 MPH" and "almost collided with a gas tanker truck."

The CHP says when they pulled Hart over, he showed "objective signs of intoxication" and was "unable to perform field sobriety tests."

He was booked into a local jail for misdemeanor DUI just before 6:00 AM PT is currently being held on a $5,000 bond.